At the beginning of our process in creating Every Rose… we decided to play on everyone’s individual strengths to achieve the best outcome. From the start of our process, we had the idea of using a well-known story and bringing a twist to it. By using a familiar story we hoped it would attract a wider audience, and the added twist would be intriguing. After researching into most fairytales we settled with Cinderella but wanted to give her a new lease of life.

Everyone knows the story of Cinderella being bullied by her stepmother and sisters, however we wanted to show the revenge Cinderella would dream of performing. This idea of dreams made us think of the possibility of setting the play in one of Cinderella’s dreams. Dreams are usually associated with the surrealistic genre so as a group we agreed on exploring the world of surrealism. This was extremely challenging as we discovered it was difficult to create a surrealistic performance effectively. Surrealism is described as the ‘creative potential of the unconscious mind’ (Oxford Dictionaries, 2016), which dreams consist of. When discussing dreams we discovered that they contain snippets of events and then skips to the next. With this idea in mind, we agreed to combine a mixture of genres that would not usually be associated together in a comedic manner.

Every Rose… was performed at Lincoln Performing Arts Centre on the 18^th May. After a couple of panics the night before regarding costume, I adapted them appropriately to achieve a more positive reaction than I received previously. The company was pleased with what I managed to achieve overnight and it is fair to say so was I! The performers felt the costumes and makeup were tailored to each character’s personality and like Edith Head explained, ‘until we finally slip into the costumes does everything come together,’ (Jorgensen, 2010, p. 13). The show certainly did come together and the reaction we received during and after the show was phenomenal. The laughter that was heard and the smiles that were seen from both the audience and the company summed up the whole performance.

As a team, we worked incredibly well together and I think this really showed throughout our performance. If we were to repeat this process again, as costume designer I would have shown the costume to an audience outside of the company to get critical feedback on whether they corresponded with the play and the characters. By doing this I would hope to avoid last minute changes. Although I did have a night to adapt costume, luckily I was able to make changes and the performers looked incredible. A crucial aspect of designing and creating costume is to ensure the performers are comfortable with their costumes. The performers did feel comfortable and it allowed them to still perform to their highest ability. Overall I am very proud of what I created with costume and makeup and have learnt a lot throughout my process.

 

Photographed by Phil Crow

(Flickr, 2016)

Works Cited

Flickr – Photo Sharing!. (2016). Every Rose. LPAC Lincoln University. [online] Available at: https://www.flickr.com/photos/61839232@N02/27001497772/in/album-72157668477406316/ [Accessed 23 May 2016].

Jorgensen, J. (2010). Edith Head. Philadelphia, PA: Running Press.

Oxforddictionaries.com. (2016). surrealism – definition of surrealism in English from the Oxford dictionary. [online] Available at: http://www.oxforddictionaries.com/definition/english/surrealism [Accessed 23 May 2016].

From showing the Twisted Ivy Productions team my costume ideas to the reaction they produced on performance day, it became apparent to me that the shoe hats were the stars of the show. Due to the dream-like and surrealistic world the play was set in, I was looking for unusual items to include in costume. The extravagant characters of the Ugly Sisters allowed me to add clashing prints and bold colours. I discovered the idea of the shoe hat when researching into a surrealist ballet performance of Cinderella by The Australian Ballet.

 

(DanceTabs, 2013)

The Ugly Sisters were wearing shoe hats, which I thought looked incredible and reflected their vain and egotistical personalities. I then began to research into the making of a shoe hat to see if it was possible for me to make, in which I discovered the designer Elsa Schiaparelli. In 1937, Schiaparelli collaborated with the surrealist artist Salvador Dali. ‘The idea came from a photograph taken in 1933 by Dali’s wife Gala, showing the artist wearing a woman’s shoe on his head and another one on his shoulder.’ (Palais Galliera, 2016)

(The Historialist, 2016)

The shoe hat designed by Dali and created by Schiaparelli was originally made by black felt with a red heel. ‘Schiaparelli was notorious in the 1930s, her embrace of Surrealism—along with its confrontational fusion of ugly and beautiful’ (Collectors Weekly, 2015) was the basis of her work and the shoe hat is no exception to that. This fusion of ugly and beautiful is central to the characters of the Ugly Sisters, therefore I found this item to be extremely appropriate.

My adaption of this iconic hat was made out of paper mache and decorated with bold and clashing colours with polka dots. I took inspiration for the decoration from what I would expect a pantomime dame would wear, something ridiculous but they would believe to be beautiful. I am extremely proud of the product I produced and pleased on the impact these hats had on stage.

 

Photography by Phil Crow

(Flickr, 2016)                                                                         (Flickr, 2016)

 

Works Cited

Collectors Weekly. (2015). A Shock of Schiaparelli: The Surreal Provocateur Who Forever Altered Fashion. [online] Available at: http://www.collectorsweekly.com/articles/a-shock-of-schiaparelli/ [Accessed 21 May 2016].

DanceTabs. (2013). Australian Ballet – Alexei Ratmansky Cinderella premiere – Melbourne. [online] Available at: http://dancetabs.com/2013/09/australian-ballet-alexei-ratmansky-cinderella-premiere-melbourne/ [Accessed 21 May 2016]. 

Flickr. (2016). Every Rose. LPAC Lincoln University. [online] Available at: https://www.flickr.com/photos/61839232@N02/26491991683/in/album-72157668477406316/ [Accessed 21 May 2016]. 

Flickr. (2016). Flickr – Photo Sharing!. [online] Available at: https://www.flickr.com/photos/61839232@N02/27027368801/in/album-72157668477406316/ [Accessed 21 May 2016].

Palais Galliera. (2016). Shoe hat, Elsa Schiaparelli in collaboration with Salvador Dalí | Palais Galliera | Musée de la mode de la Ville de Paris. [online] Available at: http://www.palaisgalliera.paris.fr/en/work/shoe-hat-elsa-schiaparelli-collaboration-salvador-dali [Accessed 21 May 2016].

The Historialist. (2016). TheHistorialist: 1937 | THE SHOE-HAT BY ELSA SCHIAPARELLI & SALVADOR DALÍ – FEAT. ANDRE PERUGIA. [online] Available at: http://www.thehistorialist.com/2014/12/1937-shoe-hat-by-elsa-schiaparelli.html [Accessed 21 May 2016].

Every Rose… is set in Cinderella’s dream, which made my developing ideas a challenge. As we are not following the conventional story of Cinderella the characters needed to look suitable to appear in Cinderella’s dream world, however the characters still needed to be recognizable to the audience.

 

Cinderella

Naïve young girl, who in her dream gets revenge on her ugly stepsisters.

Pinafore dress

• Stereotypical of Cinderella.
• Child-like dress.
• Work wear.

Denim

• Contemporary work material.
• Radom strips of denim to create a rag effect.
• Colour blue- Audience recognizes it to be the colour of Cinderella.

 White dress

• Child-like.
• Tea stained to look dirty.
• Frayed and slit at the hem to show it has been well worn.

Blue make-up

• Does not fit with original story of Cinderella however, correlates with her dream state.
• Pretty but with an edge.
• Looks like tears rolling down her face.
• Colour blue- Audience recognizes it to be the colour of Cinderella.

Barefoot 

• Shows her poor status as well as her mistreatment from her step mother and step sisters.

Influences 

  

(Pinterest, 2016)                     (Instagram, 2016)                                         Initial ideas 

 

 

Developing designs                                         Photographed by Phil Crow

                                                                             (Flickr, 2016)

 

Gertrude (Ugly Sister)

 The oldest of the ugly sisters. She is very cruel to Cinderella.

 Paisley print blouse

• Garish colours and pattern.
• Blouse is more formal and mature.

Polka dot black jacket

• Black jacket to show maturity.
• Clashing polka dot colours.
• Ruffles for big textures.
• Shoulder pads to broaden her and give her a masculine figure, almost like a pantomime dame.
• Golden curtain trimmings as a contrast to textures and golden to show her rich status.

Blue velvet flares

• Velvet to show rich status.
• Animal print material as a clashing pattern.
• Attached netted skirt with gems to enlarge her bottom half. Gems to show rich status.

 Platform heeled shoes

• Platforms to make her feet appear bigger.
• Heels to show maturity.

 Shoe hat

• Garish yellow.
• Clashing purple polka dots.
• Pantomime like item.

 Orange make-up

• Creates abnormal eye shape.
• Drawn on high eyebrows for comical effect.
• Heart shaped lips.
• Beauty spot. Stereotypical of an ugly sister.

 

Belinda (Ugly Sister)

 Youngest of the ugly sisters. She is dim and can tolerate Cinderella.

Sheer blue blouse

• Swirl pattern to clash.
• Ruffled sleeves as a clashing texture.
• Golden curtain trimmings as a contrast to textures and golden to show her rich status.

Yellow vest top

• Gold, pink and green curtain trimmings to colour clash and contrast textures.
• Yellow to clash with other colours.

Aztec skirt with red petticoat

• Cut at the front to shirt to show petticoat.
• Petticoat like a pantomime dame.
• Golden curtain trimmings as a contrast to textures and golden to show her rich status.

Platform stripy shoes

• Platforms to make her feet appear bigger.
• Stripy to clash with other patterns.
• Spotty long socks to clash and be similar to a pantomime dame.

 Shoe hat

• Garish yellow.
• Clashing purple polka dots.
• Pantomime like item.

Green make-up

• Creates abnormal eye shape.
• Drawn on high eyebrows for comical effect.
• Heart shaped lips.
• Beauty spot. Stereotypical of an ugly sister.

Influences for both Ugly Sisters 

  

(Pinterest, 2016)                   (Pinterest, 2016)                        (V&A, 2016)  

  

(Pinterest, 2016)                                   (Hawkins, 2013)                Photographed by Phil Crow 

                                                                                                                 (Flickr, 2016)

Fairy Godmother

Cinderella’s voice of reason. Part of Cinderella’s creation in her forest dream world.

Green corset

• Green to fit with Cinderella’s dream setting of the forest.
• Leafs to reflect the idea that she is part of the forest.

Floral netted skirt

• Green to match skirt.
• Flowers to show her connection with nature.

 Wings

• Made out of real branches to relate her to the forest.
• Fairy lights (the clue is in the name!)

Floral make-up

• To tie the whole theme of her outfit together.
• Dehumanize her and make her appearance like a mythical creature.

Influences 

  

   (Artofwings, 2016)                                                            (YouTube, 2016)

  

(Instagram, 2016)                                      (Etsy, 2016)                         Photographed by Phil Crow     

                                                                                                                                      (Flickr, 2016)

Works Cited 

Artofwings. (2016). Light up Wings. [online] Available at: http://www.artofwings.com/light_up_wings.htm [Accessed 20 May 2016]. 

Etsy. (2016). Poison Ivy Katy Perry inspired Burlesque Tutu Skirt and Corset with Silk Ivy Leaves Please chose size at checkout. [online] Available at: https://www.etsy.com/uk/listing/194138880/poison-ivy-katy-perry-inspired-burlesque?ref=market [Accessed 20 May 2016].

Flickr. (2016). Every Rose. [online] Available at: https://www.flickr.com/photos/61839232@N02/albums/72157668477406316/with/27062513416/ [Accessed 19 May 2016]. 

Flickr. (2016). Every Rose. LPAC Lincoln University. [online] Available at: https://www.flickr.com/photos/61839232@N02/27027393501/in/album-72157668477406316/ [Accessed 20 May 2016]. 

Flickr. (2016). Every Rose. LPAC Lincoln University. [online] Available at: https://www.flickr.com/photos/61839232@N02/26490512614/in/album-72157668477406316/ [Accessed 20 May 2016].

Hawkins, R. (2013). Ruth NQ MEDIA MAKEUP. [online] Ruthhawkinsnqmediamakeup.blogspot.co.uk. Available at: http://ruthhawkinsnqmediamakeup.blogspot.co.uk/ [Accessed 20 May 2016].

Instagram. (2016). Instagram video by Make-up by Meri • Apr 20, 2016 at 8:36pm UTC. [online] Available at: https://www.instagram.com/p/BEb4pwTKA1a/?taken-by=makeupmeri&hl=en [Accessed 20 May 2016].

Instagram.com. (2016). Sebastien (aka sebastienmua) (@sebastienmua) • Instagram photos and videos. [online] Available at: https://www.instagram.com/sebastienmua/ [Accessed 19 May 2016].

Pinterest. (2016). Carmen Miranda Pantomime Dame Theatre Costume – bright, bold and bespoke. [online] Available at: https://uk.pinterest.com/pin/558587160008117971/ [Accessed 20 May 2016]. 

Pinterest. (2016). Gucci Fall 2016 Ready-to-Wear Fashion Show Details. [online] Available at: https://uk.pinterest.com/pin/252764597814644025/ [Accessed 19 May 2016].

Pinterest. (2016). Leopard Print Bell Bottoms – Leopard Print Pants – Flares – Animal Print Bellbottoms – Cheetah Print – High Waisted – Sizes Xs S M L Xl. [online] Available at: https://uk.pinterest.com/pin/207939707773280227/ [Accessed 19 May 2016].   

Pinterest. (2016). Vintage 1950s dress – party dress / floral print / belle of the ball. [online] Available at: https://uk.pinterest.com/pin/234539093072876439/ [Accessed 19 May 2016].

V&A. (2016). Shoe Hat | Schiaparelli, Elsa | V&A Search the Collections. [online] Available at: http://collections.vam.ac.uk/item/O183849/shoe-hat-hat-schiaparelli-elsa/# [Accessed 19 May 2016].

YouTube. (2016). Making a Flower Fairy Dress – Part one. [online] Available at: https://www.youtube.com/watch?v=T5hB9-yR7aE [Accessed 20 May 2016].

The beginning of my process as costume designer for the production of Every Rose… begins with research into the history of theatre costume.

Greek Theatre

The most iconic item of costume that was used in Greek theatre was masks. Due to the size of the theatres, the audience members would have been seated far away from the actors. To emphasize the characters being played they would wear masks. These masks would be tailored to fit the characters personality; for example, comedic characters would have large smiles whilst tragic characters would have mournful facial expressions. Not only this, the mask helped the actors project their voices due to the way it molded around their mouths.

Examples of Greek masks.

(Voronin, 2014)

However it is without a doubt the most powerful function of the mask was its ability to allow:

 

an ordinary man… [to] go beyond his real identity and become a mythological hero or a lusty satyr, a foolish old man or a beautiful young woman, a god or a slave. In this disguise he could say and do things that could not be said and done in everyday life, and could present to the audience events, actions and ideas that were horrifying or ridiculous, inspiring or fantastic. (The British Museum, 2016)

The influence these masks had on the actors’ performance was a driving point for me to achieve this impact with the costume I will create.

 The Middle Ages and Renaissance

Religion was prominent during this period and this was reflected in theatre. Miracle plays and the dramatization of scriptures were incredibly popular both inside and outside the church. When they developed further the plays were moved into other public places such as the market place, which allowed larger audiences to attend. These plays usually involved characters from similar backgrounds of the performers, such as townspeople. Because of this, the performers would usually supply their own costumes.

The renaissance period saw the visual production elements become as important as the script. The costumes became more lavish, colourful ad overall expensive, just like the fashion of the time. Due to the expense of these costume they were usually sourced by upper-class citizens, ‘Thomas Platter, a Swiss visitor to England in 1599, said that important people often left clothes to servants in their wills. The servants were not allowed to wear expensive clothes, so they sold them to actors.’ (Shakespeares Globe, 2016)

 

Renaissance fashion.

(Costume History, 2014)

Sixteenth – Eighteenth Century

As well as being extravagant, costumes during Elizabethan era involved certain colours to represent the characters status. These colours and status in society would be understood by the Elizabethan audience, which allowed them to identify the character as soon as they enter the stage.

During the seventeenth and eighteen centuries, the actors began to wear costumes that were fashionable at the time. Certain items were added to indicate who the characters are, for example, a crown would signify a king or queen.

Example of an Elizabethan dress.

(Atanu B, 2014)

Nineteenth – Twentieth Century

Many periods of history has passed and costumes were now being made to fit the specific era the play. During this period, travel was beginning to become easier so people knowledge of difference cultures increased. The audience would attend the theatre and expect to see the representations of the cultures advertised. Because of the development of travel, costume designers were able to research and acquire the correct materials to create accurate costumes.

 

Works Cited

Atanu B. (2014). Elizabethan Stage (Unedited). [online] Available at: https://atanu4.wordpress.com/2014/02/13/elizabethan-stage-unedited/ [Accessed 19 May 2016].

 Costume History. (2014). Renaissance fashion in the Reign of Francis I. 1515 to 1545. | Costume History. [online] Available at: http://world4.eu/16th-century-fashion-reign-francis/ [Accessed 19 May 2016].

Shakespeares Globe. (2016). Costumes & Cosmetics. [online] Available at: http://www.shakespearesglobe.com/uploads/files/2014/01/costumes_cosmetics.pdf [Accessed 17 May 2016].

The British Museum (2016). Teaching History with 100 Objects – A Greek theatre mask. [online] Available at: http://www.teachinghistory100.org/objects/about_the_object/greek_theatre_mask [Accessed 19 May 2016].

Voronin, P. (2014). Smiley Face. [online] Loosely Analogous. Available at: https://looselyanalogous.wordpress.com/2014/12/18/smiley-face/ [Accessed 19 May 2016].